Fat Quarter – Bad Reputation

Personal (R)Evolutions: Raven Kaliana’s Fragile/Sacred

Hannah Chutzpah — Wed, 16 Nov 2011 09:00:04 +0000

When people talk about art changing lives, I think Raven Kaliana’s work is the kind of thing they mean. Using a mixture of live actors and puppetry, her company Puppet (R)Evolution uses ingenious staging to show what cannot be shown in live action.

The first play of Kaliana’s I saw was Hooray for Hollywood a while back. It told the story of her own horrific childhood in the child sex industry. The play showed adult actors from the waist down (just jean legs, skirts and overheard dialogue) and focused on the level – both emotionally and physically – of the children, who were portrayed with puppets.

I first saw Hooray for Hollywood in July 2010 and wrote about it then for feminist mag Fat Quarter. More recently an abridged version of the play has been filmed for wider distribution and showed at an event on ending child pornography held at Amnesty International Headquarters. The work is powerful, brave, and through ingenious staging conveys what it would be near-impossible to bring out for open discussion any other way. Frequently Hooray for Hollywood is played with a talk afterwards, hosted by various child protection charities.

Puppet (R)Evolution’s current play, Fragile/Sacred, was on as part of the Suspense puppetry festival.

Whereas Hooray for Hollywood was already an extremely creatively-presented play, Fragile/Sacred pushes the boundary further and forms more of an art piece. Once again part of Kaliana’s autobiography, and drawing this time from her teens, the entire performance is wordless, and uses four live actors along with a minimal number of puppets.

The set is a large, square tunnel – with each side draped in a different material, used to great effect to convey everything from undergrowth to water to a hospital ward. The opening sequence of the abusive father figure holding a light-up model of a home and pushing his hand into it and licking his hand – clearly getting a sexual kick out of it – set up the creepiness of the story’s homelife, and was one of the most uncomfortable few minutes of stagetime I have ever seen.

I feel I very much benefited from seeing Hooray for Hollywood first, and feel the two plays could, perhaps, complement each other on a double-bill. As it was, I’m not sure if those coming to Fragile/Sacred afresh would have understood all of it.

However, that said, the play is as much about atmosphere as it is about plot. The father figure character (opening scene aside) is oddly inexpressive – tightly-wound and capable of violence, but the actor playing him nonetheless gives little away facially. I say ‘the actor’ as the part is also sometimes played by a puppet for the longer-range scenes.

Compared to Hooray for Hollywood, Fragile/Sacred is very light on puppetry. It has a father puppet, a rabbit and a raven, as well as some shadow-puppets, but the play also makes good use of models and toys to convey the larger scenes. Puppetry in this play is just one element in a large range of innovative techniques used to convey the story.

Watching adult actors move toy cars or toy helicopters around added a layer of non-optional make-believe to the production. I occasionally found the lines between characters playing and representation of wider plot a little difficult to discern, but that in a way added to the dreamlike quality of the piece.

I found the complete lack of dialogue a little difficult, but – as in the earlier play – this is about a protagonist who sees a lot, but is often scared to speak or act. The character seemed on the surface to be very passive, yet was making brave and bold moves throughout the play. The dreamlike quality of the production conveyed a kind of inner sanctuary that the protagonist retreated to and drew strength from.

A fascinating, artful and thoughtful production – and an absolute must for lovers of physical theatre, as well as anyone working in fields which touch on the themes of abuse. But, strange as it feels to say, I found Fragile/Sacred – the gentler of the two plays I’ve seen – was slightly more difficult for me than Hooray for Hollywood with its more straightforward plot. While Hooray for Hollywood was entirely viewed from the protagonist’s (physical) point of view, Fragile/Sacred seems to be viewed from mostly inside the protagonist’s mind, where there is an often luscious stillness while horrors swirl around her and worlds blend together. That said, the two pieces do inform each other hugely, and I repeat my call for a double-bill.

ravenkaliana.com
Puppet (R)Evolution

Photos by Emma Leishman and Tinka Slavicek

Five Things I Found At Ladyfest Ten

Miranda — Thu, 02 Dec 2010 09:00:13 +0000

FINALLY. It’s a fortnight late, but I couldn’t not post about Ladyfest Ten. Rather than reviewing the whole event – there’s quite a few reviews floating around by now – I thought I’d just spotlight the best picks from my rucksack-hoard of discoveries.

For those for whom this blog is a First Foray into feminist websites, what is a Ladyfest? Well, they happen worldwide – here’s Wikipedia’s entry. Succinctly, they’re community-based arts and culture festivals focussed on women creating culture and campaigning for social change. The first one was in 2000 in the US; today Ladyfests go on all over the world. This one, my first, was the decade-marker!

Sarah J, Jenni and I pitched up on the Saturday afternoon with “Rest of the Fest” tix. I went for a wander in the stalls of the Lady Garden (you read that correctly). Hence, without further ado:

FIVE THINGS I FOUND AT LADYFEST

Fat Quarter: my issue 1. Glamorous brown BR Towers carpet not included. Sorry.

1. FAT QUARTER MAGAZINE

My friends, this thing is seriously badass. Give it your time. You won’t be disappointed.

WHAT IS IT? Zines and self-produced magazines are a rich tradition in feminism, and they all come out to play for festivals. This was no exception – some doing the old school riot grrrl photocopied look, and some glossier efforts. This one, firmly in the latter category, really stood out. Only two issues in since its 2009 inception, it’s beautifully designed, full colour, and fun. I swear, if BadRep was a print magazine, we’d be aspiring to be like this.
WHY SHOULD I PAY ATTENTION? BECAUSE. LOOK AT IT. YOU WILL SEE WHY. Someone I spotted on the BadRep Twitter feed pronounced them the rightful heirs to the gap left by Subtext, and I reckon they weren’t wrong.
WHERE CAN I GET MORE? There’s a website here , they’re on Facebook here and editor Katie’s tweeti ng here.

FQ1 inside spread (I picked the comics page to show off. We're geeks.)

2. FOR BOOK’S SAKE

Like reading? Interested in feminism? You’re welcome.

WHAT IS IT? In their own words, For Books’ Sake is an intelligent but irreverent website featuring books by and for independent women, including news, reviews, features and interviews. Focusing mainly on female authors (both upcoming and established), we review classic and modern books across both fiction and non-fiction. What really brought the coolness of this project home to me, though, was the moment I rounded a corner at Ladyfest and found myself standing smack bang in front of FBS writer Jess Haigh’s Travelling Suitcase Library, which is, essentially, a kind of Sisterhood of the Travelling Books – she hosts pop-up library sessions where the curious, interested and bookloving can meet, swap books, simply take books away (no membership necessary – it’s all done on trust), or talk books.
WHY SHOULD I PAY ATTENTION? Because it’s a heartwarming project with serious soul, an open-arms approach to all sorts of writing from Penguin Classics to teen fiction, and an ethos of bonding people through books. Over the desk, Jess spotted me covertly eyeing Marilyn French’s The Women’s Room in a “man, I really should read that at some point” way, smiled, and said, “That book right there? The reason I became a feminist”. That caught my attention. Before long, Women’s Room and I were heading home together. Cheers!
WHERE CAN I GET MORE? See above, or catch them on Twitter.

3. PAMFLET

So what if everybody’s already heard of this zine. I am fashionably late to the party and you can all deal with it.

WHAT IS IT? I didn’t want to write a post about the stalls of Ladyfest without including one full-on, photocopied, more old school-stylin’ zine. That zine – and choosing was hard – is Pamflet, who are a “post-everything london girl-zine made by anna-marie, phoebe & nick // photocopied pink n black since 2005“.
WHY SHOULD I PAY ATTENTION? Because it’s good to have zines in your life. It’s good to put heart into your causes, hobbies, fandoms, to make your own soapboxes out of sticky tape, photocopier drums and internet. It’s the same vein of creativity-meets-sharing that leads people to make mixtapes (and if there’s not a post by me on the sheer joy of mixtaping at some point in the life of this blog, I’m Anne Widdecombe).
WHERE CAN I GET MORE? Here (blog), here (facebook) and here (Twitter).

4. SHE MAKES WAR

Well, this one’s a bit of a cheat. You’ll have noted that we didn’t actually have tickets to the musical side of Ladyfest, BUT CONSIDER THIS PLUG MY ATONEMENT, for She Makes War, one of the acts that played, is awesome. And I’m making some noise about her here because while she wasn’t on a stall, I was blurting about her to Jenni while we were browsing the stalls, and besides, the Ladyfest buzz has since pushed me to buy her album, and that is what we blog editors call A TENUOUS LINK AND THEREFORE VIABLE. Yes.

WHAT IS IT? Great music.
WHY SHOULD I PAY ATTENTION? She’s already sailing a soupstream of soundbites like “special brand of gloom punk-pop”, “grimy angst-pop”, and so on, and you know why that is, guys? It’s because she’s REALLY GOOD. Fans of PJ Harvey, Melissa Auf der Maur et al should particularly consider applying, but I’ll just leave this taster-trailer-thinger here.
WHERE CAN I GET MORE? Official site! Minisite for album Disarm here! Twitter! Interviewy chat with Wears The Trousers online mag!

5. EDUCATION FOR CHOICE

One of the few talks all three of us made it to, so I’m rounding this off with their call to action.

WHAT IS IT? “The only UK-based educational charity dedicated to enabling young people to make informed choices about pregnancy and abortion.“
WHY SHOULD I PAY ATTENTION? Because the amount of bogus “unbiased information on abortion” services out there is growing like mould in a petri, along with that worrying US trend for aggressive pickets like this. Sarah C tweeted just as we left the talk to say that she’d passed one herself whilst out in central London. Do not want.
WHERE CAN I GET MORE? Find out more here (or read yesterday’s post by Sarah J here).